Final Necklace with Conclusion

In this post I will reveal the final piece along with the conclusion of the study.

Mariambibi Khan. 2015. Final Lace Necklace. Fine Silver, Sterling Silver & Gold Plating. Displayed at FADA Gallery.

Mariambibi Khan. 2015. Final Lace Necklace. Fine Silver, Sterling Silver & Gold Plating. Displayed at FADA Gallery.

Mariambibi Khan. 2015. Final Lace Necklace. Fine Silver, Sterling Silver & Gold Plating. Displayed at FADA Gallery.

Mariambibi Khan. 2015. Final Lace Necklace. Fine Silver, Sterling Silver & Gold Plating.

Conclusion

The role in which men played in the production of lace is evident. Their ability to produce, wear and represent lace also demonstrates the complex and evolution of the functions of lace, and changing constructs associated with lace during the course of history. The success women had in the design and production of lace is also evident as well as the power and control over women in a male dominated society. The roles in women related to jewellery design and manufacturing practices are no longer confined to the wearability of jewellery.

The jewellery represented by Lenka Suchanek and Lauran Sundin, are both different. One representing the general stereotypes of feminine design whereas the other a more modern and explore a more universal design aesthetic. I argue that both aspects of the design seen in both jewellers are credible works of art. This allows one to identify and consider the existence of complex feminine identities. The metaphorical analyses of the pieces also provides the support of the complexities presented in a gendered society.

I intend on proceeding to masters by exploring the link between lace and sexuality through aspects of the notions of concealing and revealing in feminine and creative representations. In this study I intend on accomplishing the sexual and alluring identity found in lace jewellery through the concealing and revealing of lace. I intend on focusing on aspects which lead to curiosity and intrigue of such binary opposites. In order to accomplish these aims, I will create a large draping veil made with metallic lace, exploring whether it allures and intrigues the viewer by concealing and revealing certain aspects. Aspects which influences the study is the female body and the male gaze.

Developing a Lace Necklace

This post focuses on the growth of the piece on the body and the changes needed to enhance the piece to its full potential. The piece began looking incomplete, although the pieces of lace were increasing. There seemed to lack a sense of variety. When I began working with lace I always envisaged it in gold. Taking this thought further I plated a 15 point lace piece to give me an idea on whether adding colour to the piece will enhance the lace or not.

Mariambibi Khan. 2015. Gold Plated 15 Point Lace Component. Fine Silver & Sterling Silver.

The gold plated lace enhanced its aesthetic beauty which I intended on using. Relating the use of gold in the piece also increases the value and quality which is an important factor in fine jewellery.

Mariambibi Khan. 2015. Lace Components on Bodice. Fine Silver & Sterling Silver.

After placing the gold lace with the other lace pieces the piece remained incomplete. I then started creating a 3 dimensional ball with the 15 point lace in order to give more volume to the piece.

Mariambibi Khan. 2015. 15 Point Lace Component in a ball. Fine Silver & Sterling Silver.

The white background of the bodice in comparison to the silver of the lace faded into each other. I then covered the bodice in a black cloth so that when the pieces were placed back onto it, you are able to see it much better.

Mariambibi Khan. 2015. Experimental Lace Components on Black background. Fine Silver & Sterling Silver.

I then began arranging the components allowing for areas to be highly concentrated and others simpler.

Mariambibi Khan. 2015. Lace Components forming a necklace. Fine Silver & Sterling Silver.

Once all the components were placed on the bodice, the solid aspect of the flowers were not doing it justice. In order for the piece to stand out and not be lost in the transparent appeal of the lace, back plates of varying sizes were needed to provide a solid contrast. It is because of these contrasts that make lace beautiful.

Mariambibi Khan. 2015. 15 Point Lace with plain disc. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. Lace With Discs in Necklace. Fine Silver & Sterling Silver.

After the discs were placed the piece took on a completed look. The contrasting effects of the discs brought out the lace. After having all the components, I began playing around with the best possible ways in which I could create the piece. Focusing on complicated areas and simple areas.

Mariambibi Khan. 2015. Lace Necklace - Attempt 1. Fine Silver & Sterling Silver.

This is the first attempt of arranging the necklace. It appeared to be misplaced and did not flow well.

Mariambibi Khan. 2015. Lace Necklace - Attempt 2. Fine Silver & Sterling Silver.

The second attempt became more structure, focusing on concentrated and simplistic areas.

Mariambibi Khan. 2015. Lace Necklace - Attempt 3. Fine Silver & Sterling Silver.

The third attempt focused on aligning the concentrated area with the open lace pieces and then slowly declining to the closed off lace pieces.

Mariambibi Khan. 2015. Lace Necklace - Attempt 4. Fine Silver & Sterling Silver.

The last attempt seemed to work well. The open lace pieces formed the base as discussed earlier and the concentrated complicated pieces went after the base pieces.

Mariambibi Khan. 2015. Lace Necklace - Attempt 4 - Side view. Fine Silver & Sterling Silver.

This is the side view to distinguish the height of the piece.

Mariambibi Khan. 2015. Lace Necklace - Attempt 4 Final. Fine Silver & Sterling Silver.

This is the working piece of the final necklace. After the structure of the piece was complete, I determined the flow of the gold plated lace to contrast and enhance the necklace. The completed piece will be seen in the next post.

Abstract & Lace Components

In this post I would like to focus on linking the piece to the research component. The title for my research is: Lace Jewellery: Weaving Identities in Contemporary Jewellery.

Abstract

The purpose of this study is to examine and investigate the gendered identities of feminism and its associations with metallic and lace inspired jewellery. This will be achieved by creating lace jewellery pieces and providing a semiotic analysis on each piece. This research provides a comparative analysis between the alternative material of lace and lace jewellery, and explores the associated gendered assumptions. However, my main focus would be to analyse whether the material and context used plays an important role in feminine inspired designs of lace jewellery.

I am mindful that society is deeply gendered; however, historically the linkages with lace has evolved from being asexual to contemporary associations of deeply sexual connotations. On some levels the manufacturing of lace remains a practice that resides in the domestic and craft domain. The first phase of this study explores and plots the role of lace in history as well as in a masculine and feminine world, however it being limited to the feminine readings and links the wearable role of lace in a jewellery context to both a masculine and feminine context.

The second phase looks at the transformation of lace production from fabric to metal by looking at lace jewellery produced by two jewellery designers. I provide a semiotic analyses on the pieces, linking it to design aspects associated to women, in lace. I also find that although a more geometric structure is used it remains true to the feminine stereotypes of design as demonstrated in delicate lines, floral patterns, and soft, organic design motifs and is considered to be aesthetically beautiful. I argue that that such design motifs are attractive and beautiful, and it also reflects the constructed and gendered identities in the creative arts and practices. In the third phase of this study I provide a semiotic analysis on the pieces created, and I explore the possibility of whether such domesticated skill can be associated to fine jewellery, while fulfilling historical role and function of adornment. I also argue in a metaphorical analyses between the complexities of the piece in comparison to the simplicity, which represents a fragmented feminine identity. I propose that the complexity of the piece in all aspects focusses and could possibly relate to the multiple feminine identities.

Mariambibi Khan. 2015. Experimental Lace Components. Fine Silver & Sterling Silver.

Once the decision was made to create a necklace, I began placing the experimental components together in order to analyse the combination. Once the components were placed together it became evident that in order to design the piece to its best representation of the study, I would require many more components all ranging from the examples made previously.

Mariambibi Khan. 2015. Experimental Lace Components with Flowers. Fine Silver & Sterling Silver.

The flowers used are the same ones which were made in the beginning of the year. The reason for incorporating them is to provide a solid contrast to the delicate aspect of the lace. When the lace is placed around the wrist it is a one dimension form however, still visually appealing. After placing the lace on a wrist, it allowed me to analyse and decide on creating many one dimensional lace pieces as the base of the necklace. Then building onto it with the dimensional examples made.

Mariambibi Khan. 2015. 32 Point Lace with flower. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 32 Point Lace with flower on wrist. Fine Silver & Sterling Silver.

The next step was to place it on a bodice in order to examine the way in which it should be placed and connected on the body.

Mariambibi Khan. 2015. Lace Components on Bodice. Fine Silver & Sterling Silver.

Due to the long hours needed for one lace component in comparison to the time I had left, the chances of completing the piece seemed slim. I then decided that the base of the necklace will be created with a 15 point lace instead of a 32 or 40 point lace. This allowed for a quicker production of lace components to create the base of the necklace. Using a 15 point lace for the base of the necklace enhance the contrast of the 32 and 40 point lace.

Mariambibi Khan. 2015. 15 Point Lace - Beginnings. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 15 Point Lace - Production. Fine Silver & Sterling Silver.

After mapping out these elements, the production of multiple lace pieces begun.

Mariambibi Khan. 2015. Rings. Sterling Silver.

Mariambibi Khan. 2015. Wire. Fine Silver.

Mariambibi Khan. 2015. 15 Point Lace - Production - Complete. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 4 leaf lace - Complete Production. Fine Silver & Sterling Silver.

Lace Drawings & Rhino CAD

In this post I will discuss the drawings made in the design process as well as the CAD images. The first image is an exploration of the circular form and then adding it into the lace. The circular form allows for dimension and complexity.

Mariambibi Khan. 2015. Exploration of lace in a circular form. Pencil drawing.

The second drawing is the lace in a ball. I layered and turned the lace ball in different directions to analyse and explore its best use as a component for a necklace.

Mariambibi Khan. 2015. Exploration of circular lace. Pencil drawing.

The third image is an exploration of all the lace components made for the necklace.

Mariambibi Khan. 2015.Different lace components - experimentation. Pencil drawing.

The last image is a drawing of the final piece.

Mariambibi Khan. 2015. Lace Necklace. Pencil drawing.

This is a screenshot of the lace ball in the Rhino CAD.

Mariambibi Khan. 2015. Screenshot - Full basket. Rhino CAD.

The open lace basket in Rhino CAD.

Mariambibi Khan. 2015. Screenshot - Open basket. Rhino CAD.

The 15. 32 & 40 lace pieces.

Mariambibi Khan. 2015. Screenshot - 15, 32, & 40 lace components. Rhino CAD.

Due to the scale and complexity of lace I could not make a complete piece on Rhino. I made the separate components and rendered it in Rhino CAD.

Mariambibi Khan. 2015. Open basket - Silver Render. Rhino CAD.

Mariambibi Khan. 2015. Open basket - Gold Render. Rhino CAD.

Mariambibi Khan. 2015. 15 Point Lace - Silver Render. Rhino CAD.

Mariambibi Khan. 2015. 15 Point Lace - Gold Render. Rhino CAD.

Mariambibi Khan. 2015. 40 Point Lace - Silver Render. Rhino CAD.

Mariambibi Khan. 2015. 40 Point Lace - Gold Render. Rhino CAD.

Mariambibi Khan. 2015. Full basket - Silver Render. Rhino CAD.

Mariambibi Khan. 2015. Full basket - Gold Render. Rhino CAD.

Experimental Lace Beginnings

In this post I would like to discuss the journey on how I began to discover and manipulate lace to push the expectations presented in the first semester. The second semester of my BA Hons qualification, entails a research essay accompanying a designed and manufactured piece. The first semester prepared me to be able to construct a complete research essay addressing issues of interest and creating a piece which would best represent these views. At the end of the 1st semester I was advised to take the lace pieces to another level, by incorporating variations of the lace and dimension. Taking the advice given I went back to the drawing board. I looked for the best possible way in which I could start the lace pieces off. Then focused on manipulation and dimensions of the lace.

As seen in the previous posts, I soldered wire to the base rings to keep them secured. Although it assisted in keeping the lace secured, it was a harsh line when compared to the lace and it presented an untidy finish and time consuming. I managed to find a solution by wrapping the wire around the base ring which provided a secure, neat and beautiful pattern. This can be seen below. The wrapped wire presented itself as an extension of the lace.

Mariambibi Khan. 2015. 40 Point Beginning Lace - Front. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 40 Point Beginning Lace - Back. Fine Silver & Sterling Silver.

The next step was to enhance the pattern of the lace. I began creating a tighter pattern of the circular lace to enhance the negative and positive shapes. The first sample was a 32 point lace and the second was a 40 point lace.

Mariambibi Khan. 2015. 32 Point Lace. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 40 Point Lace - Production. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 40 Point Lace. Fine Silver & Sterling Silver.

Once the 32 point and 40 point lace was created, my fascination grew. Both lace patterns ranged between two to three weeks to complete. The 40 point lace proved to be much more strenuous with a higher occurrence of breakage. I began challenging myself by exploring ways on how I could take it further to represent a 3 dimensional form. Examining the limitations and whether another pattern could be used. All the experimentation pieces can be seen below.

Mariambibi Khan. 2015. 40 Point Lace - dimension. Fine Silver & Sterling Silver.

In the image above is the 40 point lace being manipulated by shaping and forming the lace to appear 3 dimensional. The flexibility of the metal is present which allows for the piece to bend while retaining its pattern.

Mariambibi Khan. 2015. Four leaf Lace - Production. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 4 Leaf  Lace. Fine Silver & Sterling Silver.

In the images above is the new pattern. This pattern was derived from the 40 point lace which I marked out the organic shapes and weaved them. I have folded the lace to allow for dimension and variety.

Mariambibi Khan. 2015. 32 Point Lace - Basket. Fine Silver & Sterling Silver.

The above image is a representation of the 32 point lace being folded and shaped to form a ball while twisting the ends to form a consistant flow of the wire. The second 32 point experimental piece is produced by turning the lace half way in. This allows for a donut ring which looks interesting with the wire frames.

Mariambibi Khan. 2015. 32 Point Lace - Donut - Bottom. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 32 Point Lace - Donut -Top. Fine Silver & Sterling Silver.

The experimental phase of the design project, allowed for the exploration of the metallic lace. The flexibility of the lace provided an easy pathway in attaining dimension and complexity. In the next blog post I intend on beginning the design process for the jewellery piece.